DOCSLIB.ORG

I Love Poetry Launch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I Love Poetry Launch Contents Introduction ...................................................................................................................................... 1 Symposium Information .................................................................................................................... 2 Emergency contact details ............................................................................................................. 2 Program ............................................................................................................................................ 3 Venue and Getting There................................................................................................................... 4 Wifi ............................................................................................................................................... 4 Parking .......................................................................................................................................... 4 Public Transport ............................................................................................................................ 4 Taxis .............................................................................................................................................. 4 Abstracts ........................................................................................................................................... 5 Biographies ..................................................................................................................................... 13 Creative Conversations 2017: Looking Forward/Looking Back .......................................................... 23 Michael Farrell’s I Love Poetry Launch ............................................................................................. 24 A Little Tour of Fremantle ................................................................................................................ 25 Fremantle Attractions...................................................................................................................... 26 Where to Eat in Freo ....................................................................................................................... 28 Introduction CAWC Symposium: Dialogue 3 LOOKING FORWARD/LOOKING BACK 25 – 26 October, 2017 ‘The old people used glass and steel soon as they saw it, just like they saw the use of ships and rifles, and would shin up a telegraph pole to see if they could listen in. But sometimes it’s good to know how they did things also; to put these things in a line, to go to and fro.’ (Kim Scott, Taboo, Picador 2017) Quote from artist Yang Yongliang (see image below) – “I’m beginning to realise that I can use the newest techniques to work with one of the oldest art forms.” (White Rabbit Gallery website) The theme of the third China-Australia Writing Centre’s Symposium, a collaboration between Fudan and Curtin Universities, is “Looking Forward/ Looking Back”. The question to be answered is: how do Chinese and Australian writers and creators, now and in the past, differently approach problems of positioning, distance and perspective in relation to the sociocultural past and the future? In particular, what dialogues and tensions arise in environments of rapid or tumultuous change and what pressure does this put on materials available to creators to respond to such change? How are traditional materials, forms and genres repurposed, recycled, and revisited? As in the framing text by Kim Scott and image by Yang Yongliang, the past is not something safely or stably tucked away but always imminent and always dynamically shaping in relation to both the present and the future. These works announce that to make things is always to be in dialogue with the past, both its conceptions and materials. To quote from Scott, how do we ‘go to and fro’? Yang Yongliang, Infinite Landscape (2011) White Rabbit Gallery, Sydney 1 Symposium Information Convenor Dr Lucy Dougan Symposium Support Paul Clifford and Julie Lunn Speakers From Curtin University: Dr Moshe Bernstein – China Australia Writing Centre Dr Susan Bradley Smith - Media, Culture and the Creative Arts Paul Clifford - Media, Culture and the Creative Arts Dr Matthew Chrulew – Centre for Culture and Technology Dr Lucy Dougan – China Australia Writing Centre Dr Jo Jones - Media, Culture and the Creative Arts Daniel Juckes - Media, Culture and the Creative Arts Prof John Kinsella – Media, Culture and the Creative Arts Dr Christina Lee - Media, Culture and the Creative Arts Liu Yuanhang - Media, Culture and the Creative Arts Carol Millner - Media, Culture and the Creative Arts Dr Rachel Robertson – Media, Culture and the Creative Arts Dr Elizabeth Tan - Media, Culture and the Creative Arts From Fudan University: Assistant Prof Bao Huiyi - English Department A/Prof Chen Liang - English Department Prof Li Ding-jun (Hai An) - College of Foreign Languages and Literature Prof Tan Zheng - College of Foreign Languages and Literature Prof Wang Hongtu - Chinese Department Dr Zhang Yiwei - Chinese Department Invited Guests: A/Prof Boey Kim Cheng - Nanyang Technological University Fan Iris Xing – University of Western Australia Dr Michael Farrell – Melbourne University Prof Helena Grehan – Murdoch University Prof Paul Hetherington - University of Canberra A/Prof Wang Yao (Xia Jia) - Xi’an Jiaotong University Dr Wayne Price – University of Aberdeen Dr Tracy Ryan – Westerly Centre, University of Western Australia Emergency contact details Lucy Dougan: 0430 369 461 Paul Clifford: 0420 594 459 Julie Lunn: 0429 169 376 2 Program Day 1: Wednesday, 25 October 2017 Time Session Chair Speakers/Presenters 8.30am – Welcome to Country – Ingrid Cumming 9.00am Welcome – Prof Steve Mickler 9.00am - Paper Session 1 Dr Andrew Cameron Dr Matt Chrulew and A/Prof 10.00am Wang Yao 10.00am - Morning Tea 10.30am 10.30am - Creative Session 1 Dr Rachel Robertson Dr Wayne Price 11.30am 11.30am - Paper Session 2 Prof Baden Offord Prof Paul Hetherington, Dr 12.30pm Rachel Robertson and Assistant Prof Bao Huiyi 12.30pm - Lunch 1.30pm 1.30pm - Creative Session 2 Dr Lucy Dougan Poetry Translation Panel 2.30pm 2.30pm - Afternoon tea 3.00pm 3.00pm - Creative session 3 Dr Deborah Hunn Dr Elizabeth Tan and A/Prof 4.00pm Boey Kim Cheng 4.00pm - Paper session 3 Prof Tim Dolin Dr Zhang Yiwei and Dr Moshe 5.00pm Bernstein 6.30pm – Michael Farrell book launch at the Fremantle Navy Club – (see details on page 29.) 8.30pm Day 2: Thursday, 26 October 2017 Time Session Chair Speakers/Presenters 9.00am - Paper session 1 Dr Christina Chau Prof Helena Grehan 10.00am 10.00am - Paper session 2 Dr Susan Bradley Smith Dr Christina Lee and Dr Jo Jones 11.00am 11.00am - Morning Tea 11.30am 11.30am - Creative Session 1 Prof Liz Byrski Prof Tan Zheng and Prof Li Ding- 12.30pm jun (Hai An) 12.30pm - Lunch 1.30pm 1.30pm - Paper Session 3 Prof Michael Keane A/Prof Boey Kim Cheng and Prof 2.30pm Wang Hongtu 2.30pm - Paper Session 4 Prof Tan Zheng A/Prof Chen Liang and Dr 3.30pm Michael Farrell 3.30pm - Afternoon tea 4.00pm 4.00pm - Postgrad session Dr David Whish-Wilson Paul Clifford, Daniel Juckes, 5.30pm Carol Millner, Liu Yuanhang 3 Venue and Getting There The symposium will be held in the Admiralty Gulf room (marked in red on the map below) at the Esplanade Hotel in Fremantle. Address: 46-54 Marine Terrace, Fremantle Phone: 08 9432 4000 Wifi Free Wifi is available at the Esplanade. Once connected to Rydges-EVENT, open a browser and you will be directed to enter an access code. Login: event Password: event Parking There are several parking options available at and nearby the Esplanade. The Esplanade have a special valet parking rate of $20 per person. Please notify the valet that you are with the Curtin group. The Esplanade also has parking across the road for $11 per day. Alternatively, Collie Street has secure parking for around $22 per day. If you are a Curtin staff member you can use your CelloPark app for street parking in Fremantle. Unfortunately CAWC is unable to reimburse people for the cost of parking. You may be able to do this through your own school/area. Public Transport Buses and trains service Fremantle. For information please visit the Transperth website. Taxis Swan Taxis: 13 13 30 Black and White Cabs: 13 32 22 4 Abstracts Dr Moshe BERNSTEIN The Fictionalization of ‘The Great Advisor’: Problematizing Presentism, Position and Politics ‘The Great Advisor’ was the moniker given to the 17th century Chinese Jew Zhao Yingcheng (1619- 1657), who rose to prominence during the volatile Ming-Qing dynastic transition. Zhao, who hailed from a wealthy family and was conversant in scriptural Hebrew, played a major role within the Yicileye (一赐乐业, ‘Israelite’) community of Kaifeng. Apart from references in the synagogal stelae and Chinese gazetteers, the biographical information on Zhao Yingcheng is sparse. He would have witnessed the acute famine caused by the ‘Little Ice Age’ as well as the lethal destruction of his hometown by flooding during the 1642 Siege of Kaifeng in the peasant rebellion against the corrupt Ming rulers. In 1646, he attained the ultimate jinshi rank and was appointed Minister of Justice by the Manchu regent, Dorgon, tasked with implementing the controversial tonsure decree. Two years later he was sent to Fujian to quell the wanton violence of warlords financed by the wealthy buccaneer and Ming loyalist, Koxinga. In 1654 Zhao returned to Kaifeng to mourn the death of his father.
Load more

Recommended publications
  • Chinese Science Fiction Literature Can It Do for China What K-Pop And
    Chinese Science Fiction Literature Can it do for China what K-Pop and Manga do for Korea and Japan? NICKLAS JUNKER There has been little success with exporting Chinese culture abroad, despite considerable eff orts made by the Chinese government. Chinese science fiction (sci-fi) has attracted increasing global attention and may be an important cultural tool to express a Chinese narrative abroad. Previous research has focused on Chinese sci-fi as a national literary product to be consumed within Chinese borders, ASIA IN FOCUS but little has been written on Chinese sci-fi as a transnational product to be consumed globally. In this paper I examine the role of Chinese sci-fi literature as a transnational cultural tool from a bottom-up perspective. I attempt to understand the current role and function of Chinese sci-fi in the Sinosphere by looking into cultural flows within the sci-fi community and examining the routes of this transnational and transcultural voyage. The findings show that Chinese sci-fi is becoming globalised reaching consumers all over the world yet still maintaining its regional context. Thus, this paper contributes to an enhanced understanding of how Chinese sci-fi literature can create a positive and powerful image of China from the bottom-up. Keywords: Chinese science fiction literature, cultural flows, scapes, transnational movement, Ken Liu 24 o date, China’s cultural narrative abroad has to diff erent political movements and the state Tbeen portrayed from a top-down perspective, sponsored visions of China since the late Qing era often dictated by the Chinese government, in the early twentieth century to the present day.
    [Show full text]
  • SFT20-Catalog
    SPECULATIVE FICTION IN TRANSLATION 2020 sfintranslation.com Introduction Despite the apocalyptic turn that 2020 has taken, we still have a lot of great SFT to read and even more coming up. With anthologies of stories translated from the Romanian and Chinese; science fiction and fantasy collections from the French, Bengali, and Italian; and speculative novels from many languages including Sierra Zapotec, Hebrew, and Czech, there’s something for everyone. Of course, we wouldn’t have any of these wonderful stories to read in English if it weren’t for the talented and hard-working translators, as well as the publishers who give these books a chance. It’s also because of you, the readers, that we are getting more SFT with each passing year. So sit back, buckle your seatbelts, and prepare to blast off to some fantastic adventures of the mind and the universe. Rachel Cordasco May 2020 website: sfintranslation.com facebook: facebook.com/sfintranslation twitter: @Rcordas #SFinTranslation email: [email protected] goodreads: Speculative Fiction in Translation group short fiction available online: https://www.sfintranslation.com/?page_id=27 BENGALI The Epic of Damarudhar by Trailokyanath Mukhopadhyay translated by Bodhisattva Chattopadhyay Seagull Books “Originally published between 1910 and 1917, and collected in book form in 1923, The Epic of Damarudhar story cycle occupies an important and unique position in the history of Bengali literature. Tackling cosmology and mythology, class and caste abuse, nativist demagoguery and the harsh reality of rural poverty, all by means of unrelentingly fierce black comedy, Trailokyanath Mukhopadhyay’s cycle of seven stories featuring the raconteur Damarudhar remains prescient social commentary to this day.” CHINESE A Snake Lies Waiting (Legends of the Condor Heroes 3) by Jin Yong translated by Anna Holmwood and Gigi Chang MacLehose Press “China: 1200 A.D.
    [Show full text]
  • The AALITRA Review Issue 12, December 2017
    To cite this article: Peyton, Will. “Review of Invisible Planets: Contemporary Chinese Science Fiction in Translation (trans. Ken Liu).” The AALITRA Review: A Journal of Literary Translation 12 (December 2017): 45-47. aalitra.org.au Australian Association for Literary Translation Review of Invisible Planets: Contemporary Chinese Science Fiction in Translation (trans. Ken Liu) WILLIAM PEYTON Australian National University Invisible Planets: Contemporary Chinese Science Fiction in Translation. Translated by Ken Liu. New York: Tor Books, 2016. The introduction to Ken Liu’s translated volume, Invisible Planets (2016) is titled “China Dreams”. Here, Liu indicates that “the phrase ‘China Dreams’ is in fact a play on President Xi Jinping’s promotion of the ‘Chinese Dream’ as a slogan for China’s development”, used here because “science fiction is the literature of dreams”. As in any literary culture, the imaginative possibilities of science are given a voice in science fiction. This is not the first such anthology of Chinese science fiction to be translated into English; Science Fiction from China (Murphy xxxiv) first appeared in 1989 (Praeger Press), edited by Patrick D. Murphy. It featured translations of well-known stories such as Tong Enzheng’s “Death Ray on Coral Island” and Ye Yonglie’s “Reap as You Have Sown”.; these authors were, at the time, two of the most eminent science fiction writers in China. In the introduction of Murphy’s volume, Wu Dingbo (Shanghai International Studies University) painted a rather bleak picture of the cultural position in which science fiction had found itself by the end of the 1980s in China. Writers complained that readers were not “scientifically literate” enough to appreciate their works, while readers blamed authors for their poor writing abilities and critics blamed writers for favouring scientific content over literary craft.
    [Show full text]
  • Chinese Science Fiction: Imported and Indigenous
    Chinese Science Fiction: Imported and Indigenous by Lisa Raphals* ABSTRACT The relation of science to science fiction in the history of Chinese science fiction has been closely linked to both the influence of Western science and to ideals of prog- ress, nationalism, and empire. But when we turn to China’s long history of phil- osophical speculation, a rather different story needs to be told. This article examines the ways in which the indigenous Chinese sciences have fed into fiction, and con- siders the consequences for our understandings of the genre of science fiction itself and its broader social and historical contexts, as well as relationships between mo- dernity, progress, and science in a non-Western, but globally crucial, context. In the debates surrounding Chinese science fiction, scholars have often concerned them- selves with the question of “origins.” At what point can “Chinese science fiction” be said to have emerged?1 Crucially, was it a modern phenomenon that arose toward the end of the Qing dynasty (1644–1911) in the late nineteenth/early twentieth century, or was it rooted in earlier literary genres? If we adopt the “modernist” view, further ques- tions arise. What did Qing writers and readers understand as “Western” SF? Which writ- ers were available in translation? How did “Western” SF evolve, and what did the Chi- nese authors of works we (retrospectively) recognize as SF consider themselves to be doing? How did SF become indigenous to China? Answers to these questions, some of which are explored elsewhere in this volume, are complicated by genre definitions and the status of SF in China—until recently relegated to children’s pedagogic literature, and considered of little literary or even popular interest.
    [Show full text]
  • Notes on Authors
    Notes on Authors CHI HUI 遲卉, born in North-eastern China, was a member of the editorial team of Science Fiction World 科幻世界 from 2006 to 2010. She currently works as an editor in Chengdu. She uses pen names Heixiaomao 黑小貓 [Black kitten] and Soulaxia for her fantasy and World of Warcraft themed writings, respectively. She has published more than twenty pieces of science fiction writing under the name Chi Hui, including ‘Duzi’ 獨子 [Only son] (2003), ‘Guizhe wulu’ 歸者無路 [Road of no return] (2006), and ‘Chongchao’ 蟲巢 [Bug’s nest] (2008). FEI DAO 飛氘 (pen name of Jia Liyuan 賈立元), graduated from Beijing Normal University, is currently a Ph.D. candidate in the Chinese Department of Tsinghua University. His short story ‘Yige moshi de gushi’ 一個末世的故事 [A story of the end of the world] (2006) has been translated into Italian and published in ALIA, an annual anthology of world science fiction writings. His film script, adapted from his own namesake story ‘Qusi de manman lütu’ 去死的漫漫旅途 [A long journey to death] (2006), won the second Young Script-writers’ Support Programme award in 2009. He has published a short story collection Chunzhen ji qi suo bianzaode 純真及其所編造的 [Innocence and what it fabricates] (2011). HAN SONG 韓松 (1965– ), born in Chongqing, graduated from Wuhan University with a bachelor’s degree in English and a master’s degree in journalism. He is currently a deputy department head at the Xinhua News Agency, which he joined as a journalist in 1991. He was the Associate and Managing Editor of Oriental Outlook 瞭 望東方週刊.
    [Show full text]
  • 'Joining the Club' Chinese Science Fiction Literature Finding a New Narrative of Chinese Business Leadership by Giving Voice
    ‘Joining the Club’ The place of a Chinese School in the global IR academy – THØGER KERSTING CHRISTENSEN Right-wing nationalism or just plain fun? Japanese history in the game Kantai Collection and its audience interpretation – VALTTERI VUORIKOSKI SUMMER 2019 SUMMER Chinese Science Fiction Literature Can it do for China what K-Pop and Manga do for Korea and Japan? – ISSUE 7 NICKLAS JUNKER Finding a New Narrative of Chinese Business Leadership by Giving Voice to Chinese Millennials – SUVI KURKI Book Review: Van Norden, Bryan W. (2017) Taking Back Philosophy – A Multicultural Manifesto – LISA LINDKVIST ZHANG ISSUE 7 · 2019 Asia in Focus is a peer-reviewed journal published online twice a year by NIAS - Nordic Institute of Asian Studies. NIAS is a Nordic research and service institute focusing on Asia’s modern transformations. Asia in Focus was initiated by NIAS to provide Master students and PhD students affiliated to a Nordic institution a widely accessible and transnational forum to publish their findings. The focal point of the journal is modern Asian societies viewed from the standpoints of the social science and the humanities. The geographical focus is the Asian countries from Central Asia to Oceania excluding Australia and New Zealand. Asia in Focus Editorial Nicol Foulkes Savinetti (Managing Editor), NIAS, Nordic Institute of Asian Studies Committee Inga-Lill Blomkvist, NIAS, Nordic Institute of Asian Studies Lasse Sørensen, University of Copenhagen André Asplund, Stockholm University Nis Grünberg, Copenhagen Business School and Sino-Danish Center Arun Kumar, Linnaeus University Bonn Juego, University of Jyväskylä Kenneth Bo Nielsen, University of Bergen ASIA IN FOCUS While the editorial committee is responsible for the final selection of content for Asia in Focus, the responsibility for the opinions expressed and the accuracy of the facts published in articles rest solely with the authors.
    [Show full text]
  • Sinofuturism and Chinese Science Fiction: an Introduction to the Alternative Sinofuturisms (中华未来主义) Special Issue
    SPECIAL ISSUE: ALTERNATIVE SINOFUTURISMS Sinofuturism and Chinese Science Fiction: An Introduction to the Alternative Sinofuturisms (中华未来主义) Special Issue Virginia L. Conn Rutgers University / USA AS a mode of global and temporal situatedness, Sinofuturism has largely emerged as a concept applied externally to China by Western observers. By compartmentalizing sociocultural development as a form uniquely tied to the nation-state while also seeking to maintain both distance and otherness, Sinofuturism differs from theorizations such as Afrofuturism (to which it is often compared) through its application to, not development from, the subjects it takes as object. As a result, the very label of “Sinofuturism” developed out of the same Orientalizing impulses that previously relegated China to a space of backwardness and barbarism (Niu, Huang, Roh 2015) and which now attribute to it a projected futurity. Yet this Western label is one that Chinese authors and artists have appropriated and weaponized for their own creative ends, without necessarily sharing unified goals. Authors of science fiction in China have uniquely grappled with this impulse, especially insofar as digital technologies—such as the growing e-publishing industry and networked media platforms—allow for the proliferation of new voices historically barred from traditional publishing venues. (Xu 2015) Too, contemporary science fiction in China functions as a transnational form that centers a technoscientific process or material object as a means of introducing social change, rendering the aim of science fiction inherently future-oriented even when relying on the past or focused on the present. Because potential future ontologies are expected to be relevant to present extrapolations, they fundamentally rely, to some degree, not only on realistic depictions of possible technologies and circumstantial realism, but also the familiar perceptions of the extant material and digital worlds—a central tenet of Sinofuturism’s omnivorous inclusion of technology, labor, art, and the visions it makes possible.
    [Show full text]
  • Of Ghosts and Spaceships: Reclaiming Chinese National Identity Through Science Fiction Nicholas M
    University of Washington Tacoma UW Tacoma Digital Commons Global Honors Theses Global Honors Program Winter 12-20-2014 Of Ghosts and Spaceships: Reclaiming Chinese National Identity through Science Fiction Nicholas M. Stillman [email protected] Follow this and additional works at: https://digitalcommons.tacoma.uw.edu/gh_theses Part of the Chinese Studies Commons, Comparative Literature Commons, Literature in English, North America Commons, Other English Language and Literature Commons, and the Other History Commons Recommended Citation Stillman, Nicholas M., "Of Ghosts and Spaceships: Reclaiming Chinese National Identity through Science Fiction" (2014). Global Honors Theses. 26. https://digitalcommons.tacoma.uw.edu/gh_theses/26 This Undergraduate Thesis is brought to you for free and open access by the Global Honors Program at UW Tacoma Digital Commons. It has been accepted for inclusion in Global Honors Theses by an authorized administrator of UW Tacoma Digital Commons. GHOSTS OR SPACESHIPS: RECLAIMING CHINESE NATIONAL IDENTITY THROUGH SCIENCE FICTION Nicholas Stillman Writing Studies and Global Engagement December 2014 Faculty Adviser: Dr. Andrea Modarres Essay completed in partial fulfillment of the requirements for graduation with Global Honors, University of Washington, Tacoma. Updated 5.26.14 RUNNING HEAD: Ghosts and Spaceships 2 GHOSTS OR SPACESHIPS: RECLAIMING CHINESE NATIONAL IDENTITY THROUGH SCIENCE FICTION Nicholas Stillman Writing Studies and Global Engagement December 2014 Faculty Adviser: Dr. Andrea Modarres Essay completed in partial fulfillment of the requirements for graduation with Global Honors, University of Washington, Tacoma. RUNNING HEAD: Ghosts and Spaceships 3 In August of 2007, Chengdu, China played host to the largest international science fiction and fantasy convention the country had ever seen.
    [Show full text]
  • East 503 Syllabus
    East 503 Science and Technological Imaginations in Modern China Monday 2:35 pm-5:25 pm Instructor: Prof. LIU, Xiao Email: [email protected] Office hours: T/Th 4:00-5:00pm by appointment on Zoom Course Description: This course focuses on science and technological imaginations in modern China through intensive reading of Chinese science fiction. The texts assigned in this class will be English translation, although enrolled participants are also encouraged to read in Chinese if possible. Since the 19th century science fiction has become a popular genre that is closely associated with the understanding of modernity, nation-state, the expansion of capitalism, history and temporality and other important issue. Recent years witnessed increasing interest in Chinese science fiction among global sci-fi fandom. This course will start with late 19th century initial emergence of this genre, and then focus mainly on contemporary sci-fi scenario. Readings and Course Texts: Books Required: Liu Cixin. 2014. The Three-body Problem. (available on Amazon: https://rb.gy/uxtufh) Liu, Cixin. 2015. The Dark Forest. Translated by Ken Liu and Joel Martinsen. First ed. New York: Tor. (ebook in library: https://mcgill.on.worldcat.org/oclc/906813907; ) Liu, Cixin. 2016. Death's End. Translated by Ken Liu. First ed. New York: Tor.( https://mcgill.on.worldcat.org/oclc/936360629 ) Liu, Ken, ed. 2016. Invisible Planets: Contemporary Chinese Science Fiction in TranslationFirst ed. New York: Tor. (https://mcgill.on.worldcat.org/oclc/961118723 ) Liu, Ken, trans. 2019. Broken Stars: Contemporary Chinese Science Fiction in TranslationFirst ed. New York: A Tor Book. (https://mcgill.on.worldcat.org/oclc/1057241360) McGill library has either a paper or e-version of the books above.
    [Show full text]
  • Broken Stars RGG.Indd
    DISCUSSION QUESTIONS AN ANTHOLOGY OF CONTEMPORARY CHINESE SCIENCE FICTION IN TRANSLATION Sixteen intriguing visions of the future from China, edited and translated by Hugo Award winner Ken Liu This short study guide offers some questions to stimulate discussion for reading groups and classes. 1. In “Goodnight, Melancholy,” Xia Jia deliberately weaves together real “Goodnight, Melancholy” events from Alan Turing’s life with fi ctional inventions and challenges the reader to tell them apart, essentially placing the reader in the role of a player of the imitation game. How does this breaking of the fourth wall elucidate the themes of the story? Look up some of the scientifi c papers cited in the footnotes and see how their ideas were woven into the story and transformed. Does knowing more about the scientifi c background of the speculative elements change the way you understand the tale? 2. Th e most interesting character in “Moonlight” is not any of the named “Moonlight” characters, but humanity itself. Do you agree or disagree? Why? 3. Th e girls in “Broken Stars” are friends, rivals, and frenemies, and one “Broken Stars” way to read the story is as an exploration of the psychology of these layered relationships, in which the speculative elements illuminate what otherwise cannot be seen. What are some psychological truths being revealed in this way? How does the story inform our understanding of gender roles and expectations? 4. Do some research on your own on the plight of rural migrant workers “Submarines” in urban China. As unskilled, cheap laborers, they are indispensable to the prosperity of China’s big cities, though they are often denied the benefits of urban residents such as education, healthcare, and basic legal protections.
    [Show full text]
  • Science, Fiction and Politics: Chinese Science Fiction and Its Socio- Political Engagements
    No. 28 April 2019 Science, Fiction and Politics: Chinese Science Fiction and its Socio- Political Engagements Shruti Sonal ICS OCCASSIONAL PAPER NO. 28 Science, Fiction and Politics: Chinese Science Fiction and its Socio-Political Engagements Author: Shruti Sonal First published in 2019 © Institute of Chinese Studies, Delhi Institute of Chinese Studies 8/17 Sri Ram Road, Civil Lines Delhi 110 054, INDIA Ph.: +91-11-23938202; Fax: +91-11-23830728 Email: [email protected] Website: www.icsin.org ABOUT THE AUTHOR Shruti Sonal holds a Bachelor’s in Political Science Honours and Diploma in Conflict Transformation from Delhi University. She’s currently pursuing her Master’s in International Studies from Christ University, Bangalore. She is a keen observer of the intersection of arts and politics and has written for The Hindu, EPW and the Wire. Contact: [email protected] Science, Fiction and Politics: Chinese Science Fiction and its Socio-Political Engagements* Abstract Through the works of scholars like Donald M.Hassler, Frederik Pohl and Ursula K. LeGuin, it has been established that the genre of science fiction literature tends to be, by its very nature, political. Works of science fiction often put forward ideal models of politics, deal with the nature between citizens and state and dwell upon the use and misuse of technology. It is in this context that the genre and its rise provides an interesting window to look into the politics and society of China today. Post 1989, especially, science fiction has proved to be a realm in which the notions of idealism, nationalism and cosmopolitanism have been dealt with and contested.
    [Show full text]
  • A HISTORY of JAZZ in CHINA: from YELLOW MUSIC to a JAZZ REVIVAL in BEIJING a Thesis Submitted to the College of the Arts of Ke
    A HISTORY OF JAZZ IN CHINA: FROM YELLOW MUSIC TO A JAZZ REVIVAL IN BEIJING A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mo Li August, 2018 Thesis written by Mo Li B.A., Nanjing University of the Arts, 2010 M.A., Kent State University, 2018 Approved by ____________________________________________________ Kazadi wa Mukuna, Ph.D., Advisor ____________________________________________________ Jane K. Dressler, D.M.A., Interim Director, School of Music ____________________________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS LIST OF FITURES ........................................................................................................................ v LIST OF TABLES ........................................................................................................................ vii ACKNOWLEDGEMENTS ....................................................................................................... viii INTRODUCTION .........................................................................................................................1 Background ........................................................................................................................3 Review of Literature .......................................................................................................10 Theory and Methodology ..............................................................................................24
    [Show full text]